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The Classic Blue Note Recordings. The Tornados. This Is Eric Dolphy. Untinted: Sources for Madlib's Shades of Blue. Up All Night. The Waifs. Vibraphone, Marimba, Composer, Primary Artist. Ben Neill. Bar Jazz, Vol. Big Fahrenheit in Detroit. Larry Vuckovich. Cool Summer. French Kiss. Donald Brown. Happy People. Jazz Chillout [EMI]. Morning Side of Love. New York Times. Ridin' the Wind: The Anthology. The pulse is pretty clearly indicated by John Handy's maracas, which are, for better or worse, practically the loudest thing in the mix.
But this is typical of small percussion instruments. When you're mixing your own recordings, be careful, especially with shakers!!! To The Young Ones - This Ones 4 The Young Hearted, the 8th-note syncopations continue in bars And again, in bar 15 over the Gmaj7, you see the classic major 7th Jazz line configuration.
At the beginning of Chorus [ 5 ], with a sharp chordal punctuation on beat 1 of the first bar, we then see the last of Martino's Der Bus Is Schon Weg - Nena - ? (Fragezeichen) lines. This particular chorus is very much influenced by the great Wes Montgomery, as we mentioned earlier. All the A Little Quiet - The New John Handy Quintet With Bobby Hutcherson - New View!
voicings put to usage here, are staples from Wes' vocabulary. They are the basic inversions you might expect with those particular scale degrees in the top voice. This is the way to best remember them. These voicings usually appear as they outline chord A Little Quiet - The New John Handy Quintet With Bobby Hutcherson - New View! ascending or descending. Rhythmically speaking, throughout this chorus, you see constant 8th-note syncopations.
Just take a look at the last two bars, bars In addition to appearances of 9-b9 over the dominant 7th chords, you also see another of Pat's favorite altered note devices for dominant 7th chords, the usage of the 5.
You see it over the G7 chord in bar 8. Previously, this occurred in bar 8 of Chorus [ 1 ] and in bar 6 of Chorus [ 3 ]. Again, you have to look no further than Charlie Parker to find this type of line!
As Chorus [ 6 ] finally arrives, Pat Martino goes into a full-fledged chordal solo, but unlike Wes, in bar 2, over the D7 alt. Usually, when Wes did such things, he almost always used the very simple diminished 7th voicing. In short, they all become variations of D7 b9. Once again, look at all the 8th-note syncopated rhythms, accentuating the off-beats. I did this because, in truth, this is how the voicing is really functioning and I thought that it was important to point that out.
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